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f^eading 




Illastpated 



12 liantettti Slides 



WILLIAM ii. .,„.J 

PHILADELPHIA 

139i 



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Descriptive Reading 



ON 



FLORENCE 



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ILLUSTRATED BY TWELVE LANTERN 
SLIDES 






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(( lAM 21 



WILLIAM H. RAU 

PHILADELPHIA 
1891 
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Copyright^ i8gi, by William H. Rau. 



ILLUSTRATIONS. 



1. Panorama of Florence. 

2. The Ponte Vecchio. 

3. The Cathedral and the Campanile, 

4. The Armory in Podesta. 

5. The Pitti Palace. 

6. The Santa Croce. 

7. The Cloister Croce. 

8. The Palazzo Vecchio. 

9. Monks at the Fountain. 

10. Loggia dei Lanza. 

11. Uffizi Palace, 

12. Triumphal Arch. 



FLORENCE. 

"Thou art in the garden of the world, the home 
Of all Art yields, and Nature can decree ; 
E'en in thy desert, what is like to thee? 
Thy very weeds are beautiful, thy waste 
More'rich than other climes' fertility, 
Thy wreck a glory and thy ruin graced 
With an immaculate charm which cannot be defaced." 

Florence, formerly the capital of the Grand Duchy 
of Tuscany, and now chief city of the province of 
the same name, is one of the most attractive cities of 
the world. While in ancient times Rome was the 
grand centre of Italian development, Florence has, 
since the middle ages, superseded it as the focus of 
intellectual life. The modern Italian language and 
literature have emanated chiefly from this source, and 
the fine arts also attained the zenith of their glory 
here. So important a part has Florence played in 
the development of the fine arts, that her art history 
is in many respects coincident with that of the. whole 
of Italy. An amazing profusion of treasures of art, 
such as no other locality possesses within so narrow 
limits, reminiscences of a history that has influenced 
the whole of Europe, and the delightful environs of 
of the city combine to make it one of the most inter- 
esting and attractive places to be found on the face of 
the earth. 

1. Panorama of Florence. — Situated on the banks 
of the Arno, in a charming valley, picturesquely 

0-83) 



59© FLORENCE. 

enclosed by the spurs of the Apennines, who can 
describe the enchanting view of this art-city and its 
surrounding gardens? who paint the distant horizon 
with the blue ridge of the mountains standing out 
against the golden background of the western sky ? 
Like a water-lily rising on the mirtor of the lake, so 
rests on this lovely ground the still more lovely 
Florence, with its everlasting works, and its inex- 
haustible riches. From the bold, airy tower of the 
palace, rising like a slender mast, to the wondrous 
dome of the Cathedral, — from the old house of the 
Spini to the Pitti Palace, the most imposing the world 
has ever seen — from the garden of the Franciscaa 
convent to the beautiful environs of the Cascine — all 
are full of incomparable grace. Each street contains 
a world of art ; the walls of the city are the 
calyx containing the fairest flowers of the human 
mind. 

Beautiful, blooming Florence ! all is life and move- 
ment. The water gives a soft, loving reflection as the 
sun begins to decline toward the western heights. 
Green trees shine forth gaily amid the elegant houses,, 
and splendid churches and palaces ; marble statues — 
forms of beauty or pensive thought — meet you every- 
where. The people swarm in crowds across bridges 
and squares, through lanes and streets ; carriages are 
rolling along incessantly; the sunshines with summer 
splendor and life over the green hills and parks, 
amidst which Florence rests like a flower. 

2. The Poiite Veccliio. — Florence is situated on 
both sides of the Arno, and the two parts of the city 
are connected by six bridges. Of the four old bridges 



FLORENCE. 59 1 

that span the river, the most interesting is the Pont^ 
Vecchio, least like other bridges in the world and 
most enchanting. It is lined from end to end with 
quaint old shops, which have belonged to the gold- 
smiths since 1593. These shops are a sight to behold, 
brilliant as they are with all kinds of the most at- 
tractive jewelry that can be made of gold and precious 
stones. Nowhere else do we see such quantities of 
of turquoise, lopis lazuli, agate, jasper, onyx, and 
diamonds. The Florentine mosaics are especially 
beautiful. 

The bridge is crossed by the covered corridor 
which connects the Uffizi Gallery and Pitti Palace. 
On the walls of the corridor are hung gobelin tapes- 
tries, oil paintings, engravings, and an endless number 
of drawings, many of them very valuable, being the 
works of Michael Angelo, Giotto, Leonardo da Vince, 
Tintoretti, and others equally famous. Pausing a 
moment in the centre of the bridge we are charmed 
with the view, set as it were in a square frame. 
That glimpse of sky and water and rich buildings is 
exquisite. 

3. The Catliedral and the Campanile. — The 

Cathedral of Florence, called the Santa Maria del 
Fiore, from the lily which figures in the arms of the 
city, was erected with the design of being the largest 
and most splendid building which it was in human 
power to construct, and so perfect that nothing larger or 
more beautiful could be thought of. The dome is 
said to have served at a model to Michael Angelo for 
that of St. Peter's, and exceeds it in size. The 
interior of the church, though somewhat bare is ver}' 



592 FLORENCE. 

impressive, owing to its grand dimensions. Every 
separate portion in the great design is in beautiful 
harmony with the whole, and is in itself a perfected 
piece of beauty. 

The lofty Campanile stands near the Cathedral, 
complete in its lovely mosaic attire of many colored 
marbles, which shine in the light of the sun, so that 
we might fancy we saw some wonderful gigantic 
flowers. Of the beauty of this structure, one of our 
own poets sings : 

" In the old Tuscan town stands Giotto's tower, 
The lily of Florence blossoming in stone — 
A vision, a delight, and a desire — 
The builder's perfect and centennial flower, . 
That in the night of ages bloomed alone." 

On one side of the square in which the Cathedral 
stands is a white marble seat built against the wall, 
on which is inscribed ^'The Stone of Dante.'" Here 
Dante used to sit, contemplating the building of the 
Cathedral, and perhaps obtaining from its beautiful 
proportions inspiration for his Comedia Divina, or 
perhaps watching for a glimpse of Beatrice, the sight 
of whom inspired him with new life. *' I wonder was 
he ever, in his bitter exile, withheld from cursing the 
very stones in the streets of Florence the ungrateful, 
by any kind remembrance of this old musing-place, 
and its association with gentle thoughts of sweet 
Beatrice." 

4. The Armory in Podesta. — Immediately on the 
fight of Via Proconsolo, rises a most imposing build- 
ing with a most eventful history,- — the Palazzo del 
Podesta. Begun in 1255, in 1261 it became the 



FLORENCE. 593 

residence of the Podesta or chief magistrate of 
the city. The building was repeatedly damaged by 
fire and water during the riots in the fourteenth cen- 
tury, but was afterwards restored and strengthened. 
From the end of the sixteenth century down to 1859, 
it served as a prison and seat of the head of police. 
Between this time and 1865 the imposing structure 
was judiciously restored and fitted up for the new 
National Museum, illustrative of the mediaeval and 
modern history of Italian culture and art. 

On the ground floor, most picturesquely arranged 
against the tiled walls and massive columns, are instru- 
ments of warfare belonging to various periods of 
history. Lances, spears, shields, and complete suits 
of armor are seen. The entire collection of weapons 
was formerly in the possession of the Medici family, 
and comprises many pieces of great worth and beauty. 
Not least among the interesting relics is a highly 
ornamented monster cannon cast in bronze dating 
from 1638. 

5. The Pitti Palace. — The magnificent edifice of 
the Pitti Palace is conspicuously situated on an 
eminence, and has much the appearance of a castle or 
prison. It is remarkable for its bold simplicity, and 
the effectiveness of the building is entirely produced 
by its fine proportions. The artistic charm consists 
in the simplicity of the mass, the justness of propoj- 
tion in the elevation of the stories, and the tasteful 
adjustment of the windows in the vast surface of the 
facade, which is 660 feet in length. The building was 
begun in 1440 by order of Luca Pitti, the powerful 
opponent of the Medici, whom he hoped to excel in 



594 FLORENCE. 

external grandeur by the erection of the most impos- 
ing palace yet built by a private citizen. The failure 
of his conspiracy against Piero de' Medici cost Luca 
the loss of his power and influence, and the building 
remained unfinished for more than a century. 

Since the sixteenth century the Pitti Palace has 
been the residence of the reigning sovereign, and is 
now that of King Humbert when in Florence. The 
royal apartments, comprising some twenty or more 
rooms, are most beautifully furnished. 

The paintings, statuary, and other works of art 
contained in this palace form a choice collection. 
The upper floor of the left wing contains the far- 
famed picture gallery. It consists of about five 
hundred works, and comprises paintings by Perugino, 
Andrea del Sarto, Tintoretti, Rubens, Rembrandt, 
Van Dyck, Velasquez, and no fewer than a dozen of 
Raphael's works. No collection in Italy can boast 
of such an array of masterpieces interspersed with so 
few works of subordinate merit. 

6. The Santa Croce. — On the spacious Piazza 
Santa Croce stands the beautiful church of the same 
name which dates back to the thirteenth century. 
This church is called the Westminster Abbey of 
Florence, and contains many monuments of striking 
character, among which are those of Dante, Machia- 
velli, Alfieri, Galileo, and Michael Angelo. The 
remains of Galileo and Michael Angelo rest here. 
On Michael Angelo's tomb there has been placed a 
bust, said to be a correct likeness of the great artist ; 
guarding the door are three statues in mournful 
attitude, representing Painting, Sculpture, and Arch- 



FLORENCE. 595 

itecture. The position of the tomb is said to have 
been selected by Michael Angelo himself, that he 
might see from his last resting place the dome of the 
Cathedral, "the delight and study of his mind." 

In the centre of the Palazzo stands an imposing 
monument to Dante, consisting of his statue, nineteen 
feet in height, on a pedestal twenty -three feet in height. 
The corners of the pedestal are adorned with four 
lions bearing shields, on which are inscribed the 
names of his most important works. Below these 
are carved the arms of the principal cities of Italy. 

7. The Cloister Croce. — Passing through the gate 
at the side of the church we enter the cloisters, where 
every stone is eloquent of great men's deaths. The 
tablets are set in the wall on the left, each bearing a 
name famous in literature, art, or sciences, or closely 
identified with the history of Florence. Directly in 
front of us is the Capella of the Pazzi, the family 
which aiterwards gave name to the famous conspiracy 
against the Medici. The entablature is supported by 
six ancient columns ; the arch and cupola are adorned 
with glazed and colored lacunars. The front is 
decorated with a charming frieze of angelic heads. ' 

To our right, on the other side of the cloisters is 
the old refectory, which contains paintings of the 
Last Supper, the Crucifixion, and the Legend of St. 
Francis. The Tribunal of the Inquisition, which was 
abolished by the Grand-duke Peter Leopold, once 
held its sittings here. The .second row of cloisters, 
one of the finest colonnaded courts of the early 
Renaissance, is now used for military purposes. In 
the open court, of which we can see a small portion, 



596 FLORENCE. 

there are monuments of the Alamanni, Pazzi, and 
della Torre families, and many modern statues by 
famous sculptors. 

8. The Palazzo Veccliio. — The Palazzo Vecchio 
stands as a magnificent symbol of the bold aspirings 
of the ancient republic ; once the scene of its popular 
assemblies, the seat of the government, it is still an 
important centre around which cluster many memories. 
It is a castle-like building, with enormous overhang- 
ing battlements, and a great fortress tower, that 
watches over the city. We have before us a view of 
the outer court, which was constructed in 1434; the 
elaborate and beautiful decorations of the columns, 
and the arabesques on the ceilings were added in 
1565, from which time date the now somewhat faded 
views of Austrian towns which decorate the walls. 
The armorial bearings above the colonnade include 
the lily of Florence, the cross of the People, the eagle 
of the Guelph party, the balls of the Medici family, 
and the combined colors of Florence and Fiesole. 
In the centre of the court, above a large basin of por- 
phyry, is the beautiful and famous figure of the "boy 
'with the fish." The fountain sends up one sparkling 
stream, silvery alike to the eye and ear. On the 
floors above are the Council Halls" with stately decor- 
ations ; in pictures on the walls recording the triumphs 
of the Medici, and the wars of the old Florentine 
people. 

9. Monks at the Fountain. — Everywhere in 
Florence do you meet the dignitaries of the church ; 
occasionally their cardinals in scarlet stockings and 



FLORE?; CE. 597 

violet silk-lined cloaks, accompanied by a black clad 
priest; again we see bare-footed and bare-headed 
Capuchin monks, who wander along comfortably by 
twos, and betray the fact by their corpulence and rosy 
complexions, that one can lead a very jolly life as a 
Capuchin. Here and there you see a quiet thinker, 
sitting or walking, with his book in his hand, as 
solitary and undisturbed in the silent groves, as in his 
own study. The brothers before us are employed in 
attending to the household duties in the monastery. 
No meagre, fasting, gaunt, and wild-eyed friars are 
these, but jovial, round, and fat, bearing ample 
testimony that the/ well enjoy the good things of this 
life whicli are supplied to them in great abundance. 
Little is there about them to remind us of that great 
member of the brotherhood whose name is inseparably 
connected with the history of Florence, and who 
suffered martyrdom for his bitter denunciation of the 
sinfulness and luxury of the times. Savonarola ! 
well art thou honored now. Thy statue is enshrined 
in the churches, and as we leave the Vecchio we pass 
the Great' Fountain erected to thy honor on the site of 
the stake at which thou wert burned. 

10. Loggia del Lanza. — Continuing our way 
across the square we reach the Loggia dei Lanza, a 
magnificent open vaulted hall of the kind with which 
it was usual to provide both the public and private 
palaces of Florence, in order that the inmates might 
enjoy the open air, or participate in public demon- 
strations, without being obliged to descend to the 
street. The structure was erected in 1376, but it was 
not until the time of the Grand Duke Cosimo I. that 



598 FLORENCE. 

it received its present name, which is derived from his 
German spearmen or ''lancers" who were posted 
Jiere as guards. The entrance is now guarded by two 
sculptured lions. 

On our right is th© celebrated group, *' The Rape of 
the Sabines," portrayin-g in marble the manner in 
Avhich the Romans first obtained wives; on the left is 
*' Perseus with the head of the Medusa," in bronze, 
by Cellini, who also executed the statuettes and bas- 
reliefs on the pedestal. Among the other celebrated 
works contained in the loggia are ''Judith and Holo- 
fernes," by Donatello ; "Ajax with the body of 
Achilles," an ancient copy of a Greek work ; 
^'Hercules slaying the centaur Nessus ; " and many 
antique portrait statues. 

11. The Uffizi Palace. — Adjoining the Pallazzo 
Vecchio is the Uffizi Palace. Entering the square 
we behold in niches all around built in the walls, the 
nobles and great men of Tuscany ; above them smiles 
the bright heaven of their native land; they now enjoy 
a state of tranquility and honor which was not granted 
them during their life time. Tall, glorious marble 
statues with expressive heads of great individuality 
and power. Among them we recognize Dante, with 
the energetic countenance of nobly bitter lineaments ; 
Michael Angelo, Buonarotti, and Benvenuto Cellini, 
in whom rough strength is superior to beauty ; Mach- 
iavelli, with a countenance devoid of beauty, but 
captivating from its expression of sagacity and keen 
sarcasm ; Galileo, with a splendid head, indicative of 
strong concentration and deep attention to the prob- 
lems of physical creation. Each one, artist, poet. 



FLORENCE. 599 

thinker, warrior, seems concentrated upon his own 
special calling — whence comes an indescribably 
strengthening and beneficial effect from being amongst 
them. 

The first floor of the edifice contains the National 
Library, which consists of 300,000 volumes and 8000 
manuscripts, and comprises the most important works 
of the literature of all nations. 

Above this are the galleries containing a vast 
collection of objects of art. The gallery originated 
with the Medici collections, to which numerous 
additions were made by -the Lorraine family, and it is 
now one of the best in the world, both in extent and 
value. We find here works of every age and every 
country, and to name the artists ^\hose works adorn 
these walls would be simply to enumerate those who 
have been most famous in all parts of the world since 
Art first reigned supreme in Greece. 

12. Trmmphal Arch. — Before leaving Florence 
we must take one of the most pleasant drives in the 
city, along the broad avenue that leads to the Piazza 
Cavour. Driving rapidly over the smooth, even road 
we soon reach the spacious piazza. The first object 
that attracts our attention is the ancient Portal of 
St. Gallo, which dates from 1330. The frescoes which 
once adorned it are obliterated, but the gate is well 
preserved and still proudly rears its battlemented 
head. 

Continuing our way around the piazza we reach the 
imposing Triumphal Arch, which was erected in 
1738, to commemorate the entry of the Grand Duke 
Francis II. The arch is Grecian in style ; the 



6oO FLORENCE. 

entablature, which i? supported by ten Corinthian 
columns, is adorned with figures in relief. 

The fountain in the centre of the piazza makes 
music to our ears, from the lovely blue sky above 
the sun shines brightly down, and here we shall 
say farewell to Florence, in all her bloom and 
beauty. 



